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If we plan to use personal data for a new purpose, we check that this is compatible with our original purpose or we get specific consent for the new purpose.

The purpose limitation principle is very similar to the second principle of the 1998 Act, with a few small differences.

As with the 1998 Act, you still need to specify your purpose or purposes for processing at the outset. However, under the GDPR you do this by complying with your documentation and transparency obligations, rather than through registration with the ICO.

The purpose limitation principle still prevents you from using personal data for new purposes if they are ‘incompatible’ with your original purpose for collecting the data, but the GDPR contains more detail on assessing compatibility.

Instead of an exemption for research purposes, the GDPR purpose limitation principle specifically says that it does not prevent further processing for:

Article 5(1)(b) says:

“1. Personal data shall be:

(b) collected for specified, explicit and legitimate purposes and not further processed in a manner that is incompatible with those purposes; further processing for archiving purposes in the public interest, scientific or historical research purposes or statistical purposes shall, in accordance with Article 89(1), not be considered to be incompatible with the initial purposes.”

Years later, Ortega not only met his idol, but actually got to direct him in the 1980 movie
Xanadu.
It flopped and was trashed by the critics, but you'd never know it to hear Ortega talk about it. Before Kelly signed on, he wanted to meet the choreographer, a day Ortega remembers well:

"He said 'If I were to dance — and I'm not saying I'm to dance — but if I were going to dance, what would you have me do?' And so I just said, 'Well, why don't we just start with some of the steps that you've already done which, to me are, you know, classic and timeless.' And I got up and started doing some of his moves and he said 'Oh, that's the old Nora Bayes,' and 'That's not right, it's this way' and suddenly we were dancing."

Ortega may have directed Kelly in those dance numbers in
Xanadu,
but it was Ortega who got an education.

"He mentored me, and when the movie was over he continued to," Ortega recalls. "He would invite me to his home and we would look at his films together and he would talk to me about how he designed choreography for the camera which was the greatest education I had received up until that point."

Kelly inspired Ortega to experiment with choreography, to play with space, and levels — and even water.
Dirty Dancing
fans will remember the scene in the lake when Patrick Swayze is teaching Jennifer Grey the all-important lift. (If it's been a few years since you've seen it,
you can refresh your memory here
.)

One bit of movie trivia many
Dirty Dancing
fans may not be aware of: That lake was
frigid.
In fact, Ortega says Grey ended up going to the hospital for hypothermia. "You'd never know it from the glee and the smile on her face, but in fact it was not an easy scene to shoot," says Eleanor Bergstein, who wrote and co-produced
Dirty Dancing.

But the cold water didn't deter Ortega; Bergstein remembers the choreographer got in the lake with Swayze and Grey. "He got in the water with them," she says. "He was terrific."

The movie is based on Bergstein's own experiences — dancing with her friends in basements in Brooklyn, just like you see in the movie. Turns out, Ortega had danced some of those same, evocative steps himself in California.